By Jeff Conant
Part literary feedback, half media research, and half advertising and marketing instruction manual, A Poetics of Resistance offers a refreshingly new tackle the Zapatistas. whereas a lot has been written at the heritage of the Zapatista insurgency and at the communiqués of Subcomandante Marcos, little or no has been acknowledged approximately Zapatismo: the ideologies, organizing methodologies, and communications recommendations of the stream. The allure of the Zapatistas, and their survival, has as a lot to do with their targets as with the compelling and wildly powerful language and aesthetics they’ve used to show their imaginative and prescient. Weaving jointly diversified components of poetics and symbolism, Zapatismo has emerged as anything solely new: a resolutely radical public kin crusade for human liberation.
The first postmodern revolution” offered itself to the realm via a posh and evolving internet of propaganda, utilizing quite a lot of media: the colourful communiqués of Marcos; the ski mask, uniforms, toy dolls, and different accoutrements of the rebel or sympathizer; and work of art, songs, and different renowned cultural types. making use of persuasive exposure, myths, and logos, the Zapatistas either communicated their message and built a transparent aesthetic which could include many messages right away and self-replicate on a world scale. Jeff Conant bargains a fascinating and cutting edge instrument for organizers and educators to appreciate how the Zapatistas' method works, and to proceed constructing and refining their powerful messages of participatory, bottom-up revolution.
Jeff Conant is a author and activist within the San Francisco Bay zone and the writer of A group consultant to Environmental Health.
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Additional resources for A poetics of resistance : the revolutionary public relations of the Zapatista insurgency
The poet Diane DiPrima has said, “the only war is the war against the imagination”—a powerful slogan for those whose work, like hers, unites a revolutionary praxis with a poetics of liberation. But it falls short, because in fact, the war against the imagination takes shape, everywhere, as a war against the physical body as well: hunger, disease, brutality, and violence. It might be better said that the assault on imagination is the first front of violence in the war against everything. It follows, then, that the counter offensive should take the form of poetry—necessarily accompanied, of course, by physical resistance in all of its diverse renderings.
Indd 40 5/28/2010 8:53:53 AM We Are Named, Now We Will Not Die 41 the charismatic and self-effacing wit, Comandanta Ramona the diminutive but persistent female presence who overcame illiteracy to speak before millions, and the rest of the Zapatistas, the unbending will of popular resistance—they have created a living history that wins them press, solidarity, and the attention of international human rights organizations, and that, generally, prevents the Mexican government from attacking them outright.
26 In a certain sense, the Zapatistas are masters at creating spectacle. Yet, where Debord sees in spectacle the function of separation, or alienation, the Zapatista web of propaganda creates and manipulates spectacle to re-establish connection—to reject the alienation of individuals from both history and society, and to reunite each to each and all to all. To further mine Debord’s lexicon, the Zapatista brand and the spectacle it projects function as détournement, gathering the symbols and sense of capital, and turning them about to both empty them of their force, and create a liberatory space to be filled by collective acts of insurgent imagination.
A poetics of resistance : the revolutionary public relations of the Zapatista insurgency by Jeff Conant